Catalogue > Liste par artiste
Browse the entire list of Rencontre Internationales artists since 2004. Use the alphabetical filter to refine your search.  update in progress  
Riza manalo
Catalogue : 2005Lulan | Vidéo expérimentale | s-vhs | couleur | 30:0 | Philippines | 1998
Riza manalo
Vidéo expérimentale | s-vhs | couleur | 30:0 | Philippines | 1998

Riza Manalo was born 1969 in Manila, Philippines. She received her Bachelor of Fine Arts in Painting from the University of the Philippines and studied film at the Mowelfund Institute. Her early body of work explored questions of identity and environment through the modes of painting, installation and video. One work, on these specific themes was ?Paper Planet? an installation of traditional mannequins that she molded herself using layers of printed magazine and rubber latex and then filled with symbolic objects that she found. The asked the public: Should we resign ourselves to remaining constructed beings who fit into molds shaped by society? Manalo uses her life experience as reference in her work. Her concern for the environment is integrated into many of her compositions, such as the traveling site specific installation ?Lulan ( To bring back )? which involves a 35-yard long strip of quilted velvet cloth installed in 15 different urban and rural sites. This work suggests the element of water which for her is synonymous to energy, life, and regeneration in any form. She wished to address different ways of reformulating meaning and rehabilitating sites. As in her personal journal, Manalo's video and photographs of Lulan tell the stories of her many travels and her relationships with people she has met along the way. Having had to constantly move as she was growing up, she worked on a series of queen sized mattress, rolled and bound with industrial cable with metal plates etched with text. Her Bed Series, ?Grassland,? serves as both an autobiography and a commentary of the nomadic existence of many Filipinos as a result of the social conditions in the Philippines. In her recent move to New York, Manalo experimented on various media and formats to explore the issue of the borders in existence, as well as geographical, social, political migration and isolation. Her recent video, ?Homebound,? is about a migrant worker who sends her dead mother back home in a coffin, nevertheless intent on bringing the taste of a better life at all costs. The unpacking of gifts that were shipped with the deceased unfolds the absurd but practical realities of mixing consumerism along with tradition in a developing nation. ?Homebound? has won 3 awards for best experimental film. Riza Manalo has been exhibiting since 1994. Her work has been shown in many exhibitions and film festivals in the Philippines and abroad, including Cultural Center of the Philippines; Vargas Museum, Quezon City, Philippines; the Contemporary Museum of Honolulu, HI; New York Video Festival, Lincoln Center, New York, NY; National Geographic All Roads Film Festival, Washington, DC; the Rotterdam International Film Festival, Nertherlands, among others. Manalo lives and works in Brooklyn, New York.

Michael mandiberg
Catalogue : 2006All haiku, all the time | Vidéo expérimentale | dv | couleur | 3:30 | USA | 2005
Michael mandiberg
All haiku, all the time
Vidéo expérimentale | dv | couleur | 3:30 | USA | 2005

Un studio d'information,24 heures sur 24, vide, luit en silence sur un écran. L'arrière-plan est figé, mais le téléscripteur de nouvelles continue de taper haiku dans la nuit.

Michael Mandiberg est un artiste, programmeur d'ordinateur et un drôle d'économiste qui se sert de l'Internet, la vidéo et de la performance pour explorer la subjectivité, le travail et le commerce. Son travail en cours s'emploit à des "plug-ins Firefox et s'ouvre sur des plate-formes API afin de nous éclairer sur les coûts réels de l'économie mondiale pour l'environnement. Ses projets les plus récents sont "Oil Standard", un navigateur plug-in qui convertit tous les prix de n'importe quelle page de web dans leur valeur, l'équivalent en barils de pétrole, et "All Haiku, All the time", une vidéo d'un studio d'informations vide (24 heures sur 24), avec haiku défilant le long du télescripteur de nouvelles. En 2001, il distribua des copies parfaites faites à partir d'autres copies (, et il mit tous ses biens en vente sur Shop Mandiberg ( Son oeuvre est exposée et analysée internationalement. Il vit et surtout en bicyclette violette dans le quartier de Brooklyn.

Barbara marcel
Catalogue : 2017Arara | Vidéo | 4k | couleur | 9:36 | Brésil | Allemagne | 2017
Barbara marcel
Vidéo | 4k | couleur | 9:36 | Brésil | Allemagne | 2017

A forest. A cave. A woman and her bird skin. A body animated by past and future lives. Film Credits Actress: Liana Lessa Screenwriter and Director: Barbara Marcel Cinematographer: Rodrigo Levy Sound Mixing: João Polido

Barbara Marcel (Rio de Janeiro, 1985) is an artist and filmmaker, interested in the cultural roots of nature and the problematic heritage of colonial imagery. In her current artistic research PhD at the Bauhaus-University in Weimar, Marcel investigates the essayfilm as a historiographical tool for decolonial thinking with and through images, with the Botanical Garden Berlin-Dahlem and its tropical plants being her current material of study. Barbara Marcel is a scholarship holder of the Heinrich Böll Foundation and lives in Berlin.

Charlène marchand
Catalogue : 2011L'attaque des clones | Vidéo | dv | couleur | 1:2 | France | 2009
Charlène marchand
L'attaque des clones
Vidéo | dv | couleur | 1:2 | France | 2009

Série de phénomènes de rues.

Charlène Marchand est née en 1985 à Nancy, vit et travaille à Nancy. Après une année en Mise à niveau en Arts Appliqués, elle décide de développer sa pratique artistique en intégrant l?École des Beaux-arts de Metz pendant 5 ans, obtenant son DNSEP. Sa production s?emparant notamment des images du quotidien, elle s?oriente par la suite dans un Master cinéma et audiovisuel intitulé «filmer le réel» à l?IECA à Nancy. En parallèle et depuis 2007, elle s?investit en tant que reporter photo/vidéo au sein de l?association Monptidoi. "Comme écrit Pierre Tilman à propos de Robert Filliou, je tente de « donner une charge de sens aux actes de la vie ordinaire ». Ainsi, mon travail s?articule autour du quotidien, sa banalité, ses accidents et ses dérapages ; comme une peinture des choses qui nous entourent, traitée avec humour, ironie et/ou sensibilité. A travers des médiums tels que la photographie, la vidéo et l?édition notamment, je développe un travail où la notion d?association est quasi omniprésente : association d?images, de situations, d?états des choses? Partant d?une observation, d?un regard singulier sur le quotidien, mes images, issues d?une collection, créent du sens en se confrontant et proposent une dimension inopinée?"

Alain marcoen
Catalogue : 2005sonia | Documentaire | betaSP | couleur | 48:0 | Belgique | 2004
Alain marcoen
Documentaire | betaSP | couleur | 48:0 | Belgique | 2004

Bruxelloise, « bourgeoise » et intellectuelle, Sonia a 52 ans et elle exerce la prostitution depuis 30 ans. Assise en vitrine, elle nous dit aimer son métier et ses clients. Mais comment définir cette manière d?aimer ? Quel est son rapport à la séduction, au corps et aux hommes ?

Nathalie Delaunoy est née à Etterbeek, en Belgique, en juin 1974. Après des études en communication elle participe, à divers postes, sur des productions belges, comme le documentaire Ouvrières du monde de Marie-France Collard en 1999 ou 25 degrés Celsius en hiver de Stéphane Vuillet en 2003. En 2004 elle réalise son premier documentaire Sonia.

Guilherme marcondes
Catalogue : 2006Tyger | Animation | dv | couleur et n&b | 4:30 | Brésil | 2006
Guilherme marcondes
Animation | dv | couleur et n&b | 4:30 | Brésil | 2006

A giant tiger mysteriously appears in a big city. It will reveal the hidden reality in an otherwise ordinary night.

Guilherme Marcondes was born in São Paulo, Brazil. He started working as an illustrator when he was still in Architecture school. In 2000 Guilherme went to the Brazilian animation studio Lobo where he worked for five years for clients such as Diesel, Cartoon Network, and Nickelodeon. After that he spent some time in London directing the build-up campaign for the Europe Music Awards 2005 for MTV Networks and then went back to São Paulo as a freelancer. Guilherme Marcondes is currently working at Motion Theory in California and directing short-films.

Shahar marcus, daniel landau
Catalogue : 2013Seeds | Vidéo expérimentale | hdv | couleur | 5:3 | Israel | 2012
Shahar marcus , daniel landau
Vidéo expérimentale | hdv | couleur | 5:3 | Israel | 2012

The work ?Seeds? explores the phenomenon of the buried mines that exist in Israel and the world over, exposing how these areas still carry the consequence of the war within their soil while supporting the new populations who must inhabit the conflict area. It examines the power of the present moment in these places where efforts are beginning to shift these death zones into places that consciously affirm life, embracing continuity in the very place where it once was blocked.

Shahar Marcus (b. 1971) is an Israeli based artist who primary works in the medium of performance and video art. His initial works dealt with the exploration of his own body and its limitations‐ incorporating various perishable materials, such as dough, juice and ice. His body served as an instrument, a platform on which various ?experiments? took place: lying on the operating table, set on fire, dressed in a ?bread suit? and more. Food is also a major theme in Marcus?s works. For instance, his recurrent use of bread as a symbol of essentiality and survival is juxtaposed with military symbols. By working with food, a perishable, momentary substance and by turning it into a piece of clothing or a set, Marcus also flirts with art history; transforming arbitrary objects and materials into something immortal and everlasting. His early video‐performances feature himself along with other artists, with whom he had collaborated in the past. However, in his recent works, Marcus appears by himself, while embodying different roles and characters. ?The man with the suit? is a personage that was born from an intuitive desire to create a ?clean‐cut? version of an artist, juxtaposed to the common visual stereotype of the artist as a laborer. Drawing influence from Magritte?s familiar figure‐ the headless suit, a symbol of Petite bourgeoisie, Marcus embodies this man with a suit as an artist who is in charge, a director. His most recent works deal with local political issues, by approaching iconic Israeli landmarks with a critical and humorous point of view. Thus, Marcus reflects on his own heritage, environment and the creation of local historical narratives. His works are influenced by the visual language of cinematography along with familiar themes and tributes to art ? history and artists, such as Ives Klein, Paul McCarthy, Peter Greenway and Jackson Pollack. *Shahar Marcus is an active artist for over a decade and has exhibited at various art‐ institutions, both in Israel and around the world, including: The Tate Modern ,The Israel Museum, Tel Aviv Museum of Art, Petach Tikva Museum of Art , Charlottenburg, Copenhagen‐ Kunsthalle , Moscow Biennale, Poznan Biennale, Moscow Museum of Modern Art and at other art‐ venues in Poland, Italy, Germany, Georgia, Japan, the USA and Turkey. Many of his works are a part of various important collections, such as The Israel Museum, Tel Aviv Museum of Art, Petach Tikva Museum of Art as well as art‐ intuitions in Poland and Italy.

Luiza margan
Catalogue : 2018Monument Reflecting the City | Vidéo expérimentale | mov | couleur | 15:11 | Croatie | 2016
Luiza margan
Monument Reflecting the City
Vidéo expérimentale | mov | couleur | 15:11 | Croatie | 2016

The video “Monument Reflecting the City” uses the red granite surface of the recently erected, politically controversial monument to the first Croatian president, as the main aesthetic and narrative element of the video. Placed on the main Riviera of the city of Split, the monument consists of a traditionally crafted bronze figure of a man resting his hand on the red granite cube, which is inspired by the national coat of arms. The visual structure of the video work is created through mathematically determined set of rules: the camera is always placed on the same four positions around the red cube of the monument, recording the reflective surface of each of its four sides for 30 seconds, at each full hour of one summer day - from dawn till sunset. The juxtaposition of the image and the sound composition which has been created specifically for the video, establishes the sensory codes that establish a sort of `haptic` of the work. This abstract coding create the visual poetics of the work, a sensation of a space beneath the red surface, space of the unknown or even of a “threat from within”. -- The red granite surface therefore becomes a "filter" through which we can peek into the public space, by observing the light changes and the reflections on it: the ghostly circulation of tourists, buses and ships in the area that are reflected on the surface. Through its conceptual poetics, the work joins the critical discourse on postwar politics of eastern Europe and the branding of conservative national identity through erasure of history and memory in public space, often through tactics of mass tourism and commodification of public space.

Luiza Margan is a visual artist who lives and works in Rijeka and Vienna. In her art practice, Margan researches the socio-economic complexities of public space and the shaping of cultural identities within it, by dissecting the visual and spatial codes that define it. She uses archives, field research and various found materials as the basis for her sculptural, printed and video works that are often presented in the form of multimedia exhibitions, screenings or performative actions in public space. Margan was awarded the OHO - Best Young Artist Award in Ljubljana/Slovenia in 2007, the THT & Museum of Contemporary Art Award in Zagreb in Croatia in 2012, the Hypo Noe Young Art Award in St. Polten, Austria in 2015. She has been artist in residence in various programs in Mexico City, South Korea, Istanbul, Paris, and Italy. Curently she is a fellow in residence at the Akademie Schloss Solitude in Stuttgart, German. Margan has exhibited in numerous solo and group exhibitions and has had works acquired by public collections like Museum of Contemporary Art - Belvedere 21 in Vienna, Generali Foundation - Museum der Moderne in Salzburg, Austria, Museum of Contemporary Art in Zagreb in Croatia, and Tobacco Museum in Ljubljana. Luiza Margan is a member of The Golden Pixel Cooperative, a nomadic platform of women artists working on the intersection between art and moving image, focusing on the research of documentary configurations.

Elke marhÖfer
Catalogue : 2014prendas - ngangas - enquisos - machines {each part welcomes the other without saying} | Doc. expérimental | 16mm | couleur | 25:50 | Allemagne | Cuba | 2014
Elke marhÖfer
prendas - ngangas - enquisos - machines {each part welcomes the other without saying}
Doc. expérimental | 16mm | couleur | 25:50 | Allemagne | Cuba | 2014

A film shot in Cuba. Not an anthropological film, nor a narrative documentary or a film essay, but certainly a film concerned with foreignness and difference. Mostly shot in the hilly communes of Yateras, searching for long disappeared clandestine settlements, so-called palenque, where African slaves, Taínos and Chinese forced laborers, freed themselves from colonial violence, the film narrates a sense of place, which is real and imaginary at the same time. It questions, if it possible to communicate something of the soul of a place, steeped in histories of revolution and dissidence, without relying on didacticism or storytelling, without taking recourse on hierarchical distinctions between the ordinary and the extraordinary, the animate and the inanimate, the macro and the micro? Wondering what heritage (colonial) anthropology leaves behind, or rather, if it is possible to escape from the systems of signification that constitute foreignness, without getting detached from the palpable realities of the world? What if there was a way to approach the foreign by relying on the affects of the world that pass through us, giving way to perceptive cartographies, mapping out nameless intensities and collective sensitivities, leaving space for the non-human, including vegetables and animals that colonized the New Land? In this film, Cuba does not appear as an “outside” to a “Western” inside, but as a sensible texture without anchor or vanishing point, where humans are a part of the composition rather than the principal element.

Elke Marhöfer, born in the year of the goat in Baracoa/Cuba, studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Via the potentialities of moving image and suppositious writing Marhöfer works with notions of self-admitted foreignness, radical othering, heterogeneous perceptions of time, the ahistorical and disorientations of narratives. She revises notions of animal, vegetal and object relations. Since 2010 she pursues a PhD at the University of Gothenburg. Projects have received fellowships, grants, and generous support from Courtisane Festival Ghent, Images Film Festival Toronto, IASPIS Residency, Whitney Independent Study Program, Cité des Art International Paris. Art exhibitions include the Manufactura`s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, Museum für Gegenwartskunst Siegen and The Showroom, London.

Cedric maridet
Catalogue : 2006_habitus | Création sonore | 0 | | 30:0 | France | Hong Kong | 2006
Cedric maridet
Création sonore | 0 | | 30:0 | France | Hong Kong | 2006

_habitus est une oeuvre acousmatique basée sur un système d'improvisation créé pour une performance en temps réel à Honk-Kong. Deux micros furent installés de manière à enregistrer les sons provenant du patio de la galerie Habitus qui fait face à des autoroutes, tramways le port Victoria et qui est proche d'un héliport. Ces sons constituent l'unique source de cette oeuvre qui explore les variations dans un environnement improvisé. Dans l'ensemble de la création, la dimension temps réel de la performance est conservé, le son subissant des transformations sans interrompre le continuum sonore. Le montage créé pour la performance et sa source sonore particulière ont servi à composer une nouvelle oeuvre acousmatique qui ne se focalise plus sur la perception simultanée de son réel et distordue dans un espace physique. On passe de l'aspect réellement physique d'une expérimentation directe de la performance à mise en avant des sons pour eux-mêmes, ainsi que la création d'une image-son à partir des sons urbains, image-son dans laquelle on perçoit toutes les qualités de la performance. La structure globale de l'oeuvre est caractérisée par l'évolution lente de sons bruts vers des sons abstraits, pour ensuite finir avec des sons d'un environnement réel. Au sein de cette structure, on retrouve plusieurs mouvements qui explorent autant de possibilités de transformation de ces sons. Les divers événements sonores provenant du milieu original, comme par exemple des voitures, des trams et bus qui passent, perdent lentement leur modulation caractéristique par des transformations, pour devenir un matériau de création d'objets sonores divers qui évoluent au gré des modulations que le compositeur intègre. Le but de l'oeuvre est de de créer un voyage acousmatique pour les auditeurs, utilisant les changements possibles de leurdis mode d'écoute.

Né en France en 1973, il travaille et vit à Hong-Kong depuis 1999 et est actuellement doctorant en arts média à plein temps à la School of Creative Media, City University de Hong-Kong. Il fonda en juin 2004 le label de musique éléctronique monème, basé a Hong-Kong. Il a pris part à des performances et des expositions à Hong-Kong et New-York. Ses oeuvres individuelles et collectives [a.k.a symposium 4H] ont été publié dans une compilation, M001 (monème, 2004). Il a reçu le Prix d'Excellence à la Biennale d'Art 2005 de Hong-Kong pour sa vidéo Huangpu. Il a récemment sorti un nouveau CD audio, _habitus, qui est basé sur une performance en temps réel à Hong-Kong en novembre 2005. En tant qu'artiste résident du Centre d'Art Visuel de Hong-Kong, il travaille actuellement sur une installation sonore (I/O Flows) basée sur un système sonore en temps réel. Son travail se concentre sur les enregistrements sur les terrain, la construction d'espaces sonores modifiés, les intéractions entre son, vidéo et architecture.

Natalia marin sancho
Catalogue : 2016New Madrid | Vidéo | 4k | couleur et n&b | 9:0 | Espagne | 2016
Natalia marin sancho
New Madrid
Vidéo | 4k | couleur et n&b | 9:0 | Espagne | 2016

New Madrid is an essay about a failed utopia and a failed copy in the shape of a journey throughout the eight cities of Madrid in the United States. As I was putting together the project “Árboles” (about urban planning as a tool for colonisation and self-colonisation) alongside the Los Hijos collective, I found out about New Mexico's Madrid. Later I would also find seven other places named the same way located in the states of Alabama, Colorado, Iowa, Missouri, Nebraska, New York and Maine. Developed in the context of a crisis, the piece had to be limited to that American country – considering that cities named like this can be found in several regions of the globe –, given that this was the last territory which made utopia possible, and that was conceived to enable new communal experiments which led to all kinds of religious and sociological experiments.

Natalia Marín Sancho, born in Zaragoza in 1982, is a video artist and teacher. In 2008, she founded the experimental film collective Los Hijos, together with Javier Fernández Vázquez and Luis López Carrasco. “Los materiales”, her first full-length film was awarded the Jean Vigo Prize for Best Director at the Punto de Vista International Festival in 2010 and also received a Special Mention from the FIDMarseille jury. Her work has been screened at various international festivals and at exhibition spaces such as the MUSAC, Guggenheim Bilbao, Centre Pompidou, Museo Nacional Centro de Arte Reina Sofía, and Anthology Film Archive. She has also participated in group exhibitions at the Tabakalera International Centre for Contemporary Culture in San Sebastián, the PhotoEspaña and the La Casa Encendida, amongst others. As a teacher, she is currently working for the Escuela Internacional de San Antonio de Baños (Cuba), the Círculo de Bellas Artes and the ECAM (The Madrid Film School).

Ivan marino
Catalogue : 2005Five pictures of a Seated Woman | Doc. expérimental | dv | couleur et n&b | 23:0 | Argentine | Espagne | 2005
Ivan marino
Five pictures of a Seated Woman
Doc. expérimental | dv | couleur et n&b | 23:0 | Argentine | Espagne | 2005

"Ce documentaire poétique, réflection profonde sur le temps et la mort, retrace les 5 dernières années da la vie d'une femme. On peut la voir dans des situations, des scènes de tous les jours, tricotant, mangeant, dormant." Festival International de la Vidéo d'Art Electronique, Brésil. "Poderosa reflexão sobre o tempo e a morte, o documentário poético acompanha os cinco últimos anos de vida de uma mulher, com registros de situações corriqueiras, em que ela aparece tricotando, comendo, cochilando." Festival International de Arte electronica Videobrasil

Iván Marino, réalisateur vidéo et artiste multi-média, est né en Argentine en 1968. Durant son activité professionelle il a été professeur dans différentes universités: nationales et internationales. En 1977, il fut invité au Filminstitut (HDK- Hochschule der Künste, à Berlin) en tant que professeur- visiteur pour étudier la forme documentaire. De 1997 à 1998 il fut professeur en visite à l'Université de Californie à Los Angeles (Département Film et TV), où il se spécialisa dans l'Art Digital. En 1999 il reçut un prix du Centre d'Art et Design MECAMedia (Ecole Supérieure de Design, Université Ramón Llull) pour la recherche et la réalisation d'art du média. Depuis, il vit à Barcelone. Il s'occupe actuellement de plusieurs cours d'Art Electronique et de Design Digital (Université ESDI Ramón Llull). Il donne aussi des cours de Système de Design Interactif pour programme de maitrise internationale et collabore avec des professeurs de l'Université Pompeu Fabra, à Barcelone(IUA).Iván Marino a été aussi en charge de séminaires tout en assurant des cours d'éducation dans différentes universités en Argentine (Universidad Nacional 3 de Febrero, Universidad Blas Pascal),en Colombie (Universidad Nacional de Cali, Universidad de Caldas),tout comme d'autres centres académiques. Durant sa carrière professionelle, il a créée pour le cinéma, la vidéo et les moyens interactifs, tels que le Web ou l'internet en général. Son oeuvre a été présenté dans différentes manifestations internationales et a reçu des prix aux festivals d'Hannover (Festival du Film International, Allemagne,1997), BHZ Brésil (Belo Horizonte, Brésil, 1995), Videobrasil (San Pablo, Brésil, 1997), Festival du Film de Buenos Aires (Sueños Cortos, Argentine, 2003), pour n'en citer que certains. Il a reçu des financements de la part de la Fondation Rockefeller, MacArthur (Etats-Unis), Fondation Antorchas (Argentine), Goethe Institut (Berlin), et reçut un prix du ZKM (Centre pour l'Art et Média, Karlsruhe, Allemagne) ainsi que de l'Université de Californie, Los Angeles (UCLA). source: La Caixa

Franco marinotti
Catalogue : 2006PLAY Gallery | 0 | 0 | | 0:0 | Suisse | Allemagne | 2007
Franco marinotti
PLAY Gallery
0 | 0 | | 0:0 | Suisse | Allemagne | 2007

PLAY est une galerie et un showroom pour des projets artistiques, révélant à quel point le cinéma, la vidéo et l'art s'influencent réciproquement. Loin des distinctions classiques de genres, de nouveaux langages narratifs et visuels constituent une alternative au flot d'images et à la publicité à caractère subliminal diffusés dans les mass médias traditionnels. Le but et le principal intérêt de cette galerie résident principalement dans la transformation des modèles visuels du visiteur et du spectateur autant que des modes de perception, afin de l'inviter et de le fasciner de manière positive. Dans cette perspective, PLAY invite les artistes, les directeurs et les cameramen à présenter les idées de leur projet qui seront ensuite réalisées pour cet espace. Le savoir-faire technique, et les fondements théoriques du projet sont considérés comme aussi importants l'un que l'autre. C'est pourquoi, une emphase toute particulière est donnée à la coopération avec les universités et les académies afin d'élaborer ce type nouveau de conception durant des ateliers, avec la participation des élèves et des professeurs. Dans ce même contexte, les meilleurs "offs" provenant de festivals sont présentés sur des écrans et examinés par des spécialistes.

Franco Marionetti a fondé la société de production cinématographique et d'édition de livres d'artistes, "Fine Arts Unternehmen Ag" en 1999, à Zug, en Suisse. En 2000, il a ouvert "Artinprogress", un espace d'exposition à Berlin et en 2002 il a ouvert la "PLAY_gallery" consacrée aux images fixes et en mouvement à Berlin, pour se concentrer sur la vidéo et le cinéma. En 2003, il a lancé Fair Play, un festival annuel de vidéo et de cinéma à Berlin. En 2007, il a commencé le projet ?Mera Coincidencia?, à Lisbonne, en collaboration avec l'artiste Javier Penafiel.

Isabel marÍa lÓpez
Catalogue : 2007The Face and The Face | Doc. expérimental | dv | couleur | 25:0 | Espagne | USA | 2005
Isabel marÍa lÓpez
The Face and The Face
Doc. expérimental | dv | couleur | 25:0 | Espagne | USA | 2005

Glenn and Carmen, the protagonists of this documentary, are portrayals of two lives immersed in American culture. Of Hispanic origin, both of them believe they have "made it in Gringo-land". They are identities consolidated in archetypes and social superficiality: this is what each of their lives represents. The two faces of "The Face and The Face". Born in New York, Glenn Neil travels around during the day in a Hummer, a powerful vehicle used by the US Army that his company has lent to him to promote PEPCID, a stomach antacid marketed primarily to Neil's original community: the Hispanic population. In the other video, the camera follows Carmen, an Argentinean, on her habitual late-night tour of the places where she works in Manhattan. With her piano/synthesiser, she drives to restaurants and nightclubs, usually Latin, playing her repertoire of songs to make people's evenings more enjoyable.

Isabel María was born in Mérida,Spain in 1972. While finishing her degree in Fine Arts at the Universidad Complutense of Madrid, she also completed a residency in the artist Urs Lüthi's, HBK, Germany, from 2000 to 2002. The following year she received her doctorate in Image Art from the Fine Arts Department of the Universidad Complutense of Madrid, and she is currently completing her doctoral thesis on Framing methods: The camera like writing in video art. Isabel María has received the following awards and grants: First Honourable Mention in the III Photography Contest of the El Cultural supplement in the newspaper El Mundo, 2003; Finalist in Camel Arte 03, video art section, Barcelona, 2003; El Brocense Cultural Institution Prize artwork acquisition, Cáceres, 2004; First Honourable Mention in "5ª Biennialal from Vic" Barcelona, 2006-2007; artist grant from MediaLabMadrid/Conde Duque, Madrid, 2002; F.P.U. Research Grant, Ministry of Education, Culture and Sports, Madrid, 2003-2006; M.E.C., Madrid, grant for MoMA, New York, 2004; and in 2005 she received an M.E.C. grant for the Video Data Bank at the School of the Art Institute of Chicago. Recently, she was selected by Contemporary, the London art magazine, in the first Contemporary Annual 2006, as one of the 50 international emerging artists.

Boonstra marjoleine
Jenny marketou
Catalogue : 2007DE_LETE | Doc. expérimental | dv | couleur | 2:0 | Grèce | USA | 2006
Jenny marketou
Doc. expérimental | dv | couleur | 2:0 | Grèce | USA | 2006

La frontière est un lieu construit artificiellement qui se matérialise lorsque les gens le traversent. Nous sommes habitués à voir dans les médias des images violentes et agressivesde la frontière, utilisées pour manipuler l'opinion publique sur l'immigration illégale et la sécurité nationale. De Lete a été tourné sur la frontière entre Tijuana et San Diego, avec pour toile de fond le petit village de Las Playas au golf du Mexique. De Lete donne une vision alternative de la frontière. Le film est au carrefour de plusieurs genres, formel, documentaire et philosophique. La caméra capte l'activité humaine le long de la barrière en fil de fer de la frontière, anticipant le crime. A notre surprise, la frontière se matérialise seulement quand les gens de tous âges viennent des deux côtés pour s'adonner à une communication intime. Ainsi, la barrière se transforme en point de rencontre, et aucune tentative pour la traverser n'est faite. Tandis que cet acte de tous les jours se répète au ralenti, la frontière disparaît et devient soudain un lieu ambivalent à la croisée de deux cultures; un nouvel espace social aux relations discrètes. C'est un espace reculé, contrôlé par des forces invisibles.

Jenny Marketou est née à Athènes, en Grèce, et vit à Brooklyn, où elle réalise des installations vidéo, internet, des photographies et des dialogues publiques. Son travail est influencé par la musique, l'art et les nouveaux médias. Son inspiration première est liée à de nombreuses lectures, que l'on peut voir comme une culture du paysage. Son oeuvre a été montrée dans des musées et des galleries aux niveaux national et international et a reçu de nombreuses bourses et a fait de nombreuses résidences d'artistes à travers le monde. Elle possède un Master of Fine Arts du Pratt Insitute de Brooklyn et enseigne en tant que professeur adjoint la photographie et l'art interdisciplinaire à la Union School of Art and Science de New York. Elle est l'auteur d'un livre avec photographies et entretiens: "The Great Longing: The Greek Immigrants of Astoria ,Queens".

Jenny marketou
Catalogue : 2014Flows | Vidéo | hdv | couleur | 13:17 | Grèce | 2014
Jenny marketou
Vidéo | hdv | couleur | 13:17 | Grèce | 2014

FLOWS : Working very closely with the indigenous communities with the intention to explore the female voice as a political weapon and the dialectic that are embedded in the moving image and which can generate political action embarking from grass root groups as those of the AfroColombian Diaspora who settled in the mountains of Santa Maria near Cartagena .Their lyrics embodied in their songs are social and communal messages engage with various issues connected with identity, their struggles for preservation, drug wars, death, and in general echoing their personal encounters with their past . The protagonists by choice are all women and the narrative is ruptured by the intervention of a male cello player whose face is never revealed as well as by incorporating pixilated clips appropriated from the archival excess of you tube and video. Both interventions have a symbolic meaning showing the cracks in the representation system.

Jenny Marketou is Greek born and New York based interdisciplinary artist who has participated in a number of leading exhibitions of contemporary art, such as Manifesta, as well as international art biennials such as Prague in Chez Republic; Cartagena des Indias in Colombia, Athens in Greece; Seville in Spain ,Sao Paolo in Brazil , Venice and Istanbul .Her solo exhibitions have been hosted by art institutions, such as, Centre of Contemporary Art (CCA) Glasgow in Scotland; Museum de Arte Reina Sofia, Madrid ; the ARTIUM Museum of Contemporary Art in Vitoria, Bilbao, Spain; Kumu Art Museum, Tallinn Estonia; National Museum of Contemporary Art in Athens; ZKM, Karlsruhe, Germany; the Van Abbemuseum in Eindhoven; Cornerhouse, Manchester, UK; The New Museum in New York City; Queens Art Museum, Queens, New York among others. She earned her MFA at Pratt Institute in Brooklyn New York and she has also taught at Cooper Union School of Art . As of 2015 she will be teaching at the School of Art at CAL ARTS (California Institute of the Arts) in California. Marketou is the author of numerous texts on issues concerning moving image including the photography book The Great Longing , Kedros Publishers, Athens, Greece.

Filip markiewicz
Catalogue : 2017Celebration Club | Fiction expérimentale | hdv | couleur | 23:10 | Luxembourg | Royaume-Uni | 2017
Filip markiewicz
Celebration Club
Fiction expérimentale | hdv | couleur | 23:10 | Luxembourg | Royaume-Uni | 2017

Celebration Club (2017) is a film made over the course of one week in Northampton following the Brexit referendum.The film captures musicians of different generations and origins talking about the changing society and making music, including punk scholar Roy Wallace, rapper Phundo Art, avant-garde black metal band Denigrata and the Northampton Male Voice Choir performing Robbie William’s Angels in a local church.

Luxembourger of Polish origin, Filip Markiewicz (born in 1980) is a multidisciplinary artist expressing himself through drawing, video, music, theatre and installations thereby creating a visual body of work using diversified media. His work is not intending to be a kind of political activism, but rather to develop an almost surreal language consolidating different expressions. In 2015 Filip Markiewicz represented the Grand Duchy of Luxembourg at the 56th Venice Biennale with his project "Paradiso Lussemburgo". In 2017 he produced his first theater play "Fake Fiction" at the Theater Basel. In 2018, he will present his monographic exhibition "Celebration Factory" at the Casino Luxembourg - Forum d`Art Contemporain.

Catalogue : 2019Fake Fiction | Fiction expérimentale | hdv | couleur | 26:7 | Luxembourg | Suisse | 2018
Filip markiewicz
Fake Fiction
Fiction expérimentale | hdv | couleur | 26:7 | Luxembourg | Suisse | 2018

Fake Fiction is initially a theater play that became a film produced in 2017 by the Theater Basel. Filip Markiewicz wrote the dialogues in reference to the events that happened during the period of time, the terror attacks, the European mirgant crisis and the rise of populist movements and fake news...

Luxembourgeois d’origine polonaise, Filip Markiewicz (né en 1980) est un artiste multidisciplinaire qui s’ex- prime à travers différents médiums, dont le dessin, la vidéo et l’installation. Toujours en quête d’explications à nos vies quotidiennes, il explore l’omnipré- sence des images et met en perspective le message qu’elles véhiculent. Il soumet l’actualité à une approche critique et politique et, partant, souligne la vacuité de notre monde en surproduction visuelle où l’information devient la réalité plutôt que l’inverse. En 2015, Markiewicz a représenté le Grand-Duché de Luxembourg à la 56e Biennale de Venise avec Paradiso Lussemburgo.

Ivan markovic
Catalogue : 2018Centar | Doc. expérimental | 4k | couleur | 48:26 | Serbia | 2018
Ivan markovic
Doc. expérimental | 4k | couleur | 48:26 | Serbia | 2018

A vast complex of corridors, atriums and halls: a congress center made to host thousands now stands almost abandoned. The architecture reflects a former idea of the future, while surfaces and materials testify to its end. Through their relentless effort, the maintenance workers shoulder the duty of restoring the space to what it was imagined to be. Their movements are unison, ritual but also their own. Sava Centar is a congress space completed in 1978. in Belgrade, Yugoslavia. It hosted hundreds of international meetings, including World Bank summits and a conference of the Non Aligned Movement. After the breakup of Yugoslavia, its capacities gradually became obsolete. It is now awaiting a privatisation and commercial reconstruction.

Ivan Markovi is a cinematographer and director born in Belgrade, Yugoslavia. He graduated from the Faculty of Drama arts in Belgrade, cinematography studies, in 2012. For his film and photography work, won “Erste Bank foundation” Award for best visual artist in 2014. Recently worked as a cinematographer on several feature films including “All the cities of the north” (director: Dane Komljen, premiered on Locarno Film festival 2016), “You have the night” (director: Ivan Salati, premiered on Venice Critics week 2018) and “Ich war zuhause, aber..” by director Angela Schanelec, which premiered in Berlinale Competition 2019. The short film “White Bird”, which he worked on as a cinematographer and co-director with Linfeng Wu, had its premiere on Berlinale Shorts 2016. In 2018 his experimental documentary film “Centar” had its premiere on Doclisboa Film festival. Lives and works between Belgrade and Berlin.

Jelena markovic
Catalogue : 2016Durch | Fiction | hdv | couleur | 13:7 | Serbia | 0
Jelena markovic
Fiction | hdv | couleur | 13:7 | Serbia | 0

I was overwhelmed by a sense of the wrongness of what was happening, or if not by the wrongness, then by the sheer pace of events. I felt that you would have been disappointed at how quickly I had accepted the news of your death, and how readily we had set in motion the machinery of memorialization. One minute i was looking forward to meet you in our old flat, headed home from a long time away; the next minute I came in and I was burying you.

Jelena Markovic holds a Bachelor`s Degree from Academy of Arts, University of Belgrade, and a Master`s Degree from Hochschule for bildende Kunste Hamburg, mentored by Angela Schanelec. Born 1987. in Belgrade, Serbia. Lives and works in Berlin, Germany.

Randa maroufi
Catalogue : 2017Stand-by Office | Doc. expérimental | hdv | couleur | 13:0 | Maroc | Pays-Bas | 2017
Randa maroufi
Stand-by Office
Doc. expérimental | hdv | couleur | 13:0 | Maroc | Pays-Bas | 2017

Un groupe de personnes dans un environnement de bureau. Des gestes quotidiens de travail sont observés dans tout le bâtiment. Rien ne semble être déplacé. La caméra circule continuellement et change progressivement notre perception de cet espace. On se pose la question : qu’est ce que signifie ce bureau pour ce groupe de personnes ? "We Are Here" est un groupe de réfugiés à Amsterdam qui ne reçoit aucun logement fourni par le gouvernement, mais ne peut pas non plus travailler. Le groupe a décidé de rendre visible la situation inhumaine qu’ils doivent vivre, en ne se cachant plus, mais en montrant la situation des réfugiés qui sont "en dehors de la loi" aux Pays-Bas.

Diplômée de l’Institut National des Beaux-Arts de Tétouan, de l’École Supérieure des Beaux-Arts d’Angers (France) ainsi que du Fresnoy (France). Randa Maroufi est de cette génération advenue avec le règne des images. Elle les collectionne avec autant d’avidité que de méfiance, se pose sans cesse la question de leur véracité. Sa recherche se situe entre le reportage, le cinéma et l’étude sociologique qu’elle poursuit en réalisant des fictions ambiguës qu’elle met au service du réel, et le champ de ses expérimentations s’étend de l’occupation de l’espace public à la question du genre, dont elle relève les mécanismes de construction. Son travail qui se traduit essentiellement à travers la photographie, la vidéo, l’installation, la performance et le son, a été présenté lors d’événements d’art contemporain et de cinéma majeurs tels que La Biennale de Marrakech (2014), Les Rencontres photographiques de Bamako (2015), Le Museum of Modern Art à New York (2016), Le Dubai Photo Exhibition (2016), Le Festival International du court-métrage de Clermont-Ferrand (2016), le VIS Vienna Independent Shorts (2016), le FID Marseille (2016) etc. Son film Le Park a reçu plus d’une vingtaine de prix tels que le prix ADAGP Art numérique – Art vidéo (2015), Videonale Award of the fluentum Collection (2017), le prix du jury au Festival International du film de Rotterdam (2016), le prix du meilleur court métrage au festival IBAFF etc.